A Quote by Peter Sarsgaard
I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
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I think one third of my work is with first-time directors because I think I should, you know? Really, the difference between a first-time director and a second- or third-time director - I mean there's no director who makes enough movies anyway - but if they're talented, they have it. And there is no movie that is perfect.
We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.
One thing that I have learnt from many senior actors is that you can never take anything for granted. Whether one is working with the best director or a first-time director, every experience teaches you a lot.
I still can't quite believe it. Although there was something about the fact that it was a first-time writer, a first-time producer, and a first-time director all at the same time.
If I love the script and have a good rapport with the director, then first-time director can also be very special.
Scott Frank and I are director friends. We met through the Sundance Labs and he's advised me on my first projects - I've visited him on set, we've shared first cuts with each other, and we're more like director pals than anything else.
When you have a director who has work you can identify from the past, it gives you some reference point as to what their interpretation of the story might be, and how that might jibe, right or wrong, with how you see it. But with a first-time director, you don't really know where you're at.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
I grew up in Texas City, Texas. I didn't know anybody who was a director or whose parents or grandparents were directors. I met somebody from a nearby town one time whose father had been to the moon - it was far more likely to be an astronaut than it was to be a writer or a director.
IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME.
It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later.
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's, like, an action flick with a great director, then it's like, 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director, I don't know if that's the trajectory I want to take with what I'm doing.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
It's a roll of the dice when you're a first time director so I prefer to work with people that know more than I do, but that happens less and less as you get older.
Yeah, I mean I've definitely had a bunch of action scripts sent to me, but again I'm a stickler for directors. If it's like an action flick with a great director then it's like 'Oh let's look at this thing,' but if it's just like a shoot-em'-up with a first time director. I don't know if that's the trajectory I want to take with what I'm doing.
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